Geoffrey wansell terence rattigan biography
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At the time of his death in 1977, Terence Rattigan was barely remembered by the theater-going public, yet 30 years earlier he was considered one of Britain's most important playwrights. Geoffrey Wansell's Terence Rattigan is the first critical evaluation of the author since his death and, as such, is a major contribution to theater history. More importantly, because Rattigan and most of his contemporaries are dead, Wansell is able to discuss freely their personal and sexual lives. Carefully documented and elegantly written, this biography adds immeasurably to our understanding of British gay male life and the evolution of a gay artistic sensibility.
On May 8, 1956, England's most prosperous playwright attended the premiere of an incendiary play by a brash young newcomer. The play, called ''Look Back in Anger,'' assailed just about everything the established writer represented - and when a reporter asked Terence Rattigan what he thought of it, he replied that its author was saying
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Terence Rattigan
By tracing the epistemological and theoretical roots of the major methodological perspectives, Gunter identifies the various schools of social scientific research that have determined the major perspectives in the area. Drawing a distinction between quantitative and qualitative methods, he discusses the relative advantages and disadvantages of each approach, and examines recent trends that signal a convergence of approaches and their associated forms of research.
The unique strength of this book is that it discusses the theoretical underpinnings of media research methodologies, and thereby presents a deeper discussion of methodologies than simply whether or not they offer techniques that generate reliable data.
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Terence Rattigan a Biography - Softcover
From Kirkus Reviews
A gossipy yet earnest portrait of the once-popular British dramatist, unlikely to attract many American readers. Rattigan (191177) had his first West End success (French Without Tears) when he was only 25, and he would never quite shake his reputation as a smooth, shallow crowd-pleaser, even though London critics grudgingly admitted that The Browning Version (1948), The Deep Blue Sea (1952), and Separate Tables (1954) were expert character studies that bleakly demonstrated the essential irrationality of love. (American critics were seldom even that welcoming, and few of his plays did well on Broadway.) At the height of his commercial success and artistic powers, in 1956, Rattigan was vilified--with only partial accuracy--as representative of a complacent, middle-class Britain that angry young men like John Osborne and Arnold Wesker were determined to destroy. He had a few more hits and a lucrative screenwriting career, b